February 3, 2011University of Toronto’s Independent Weekly Vol. XXXIII N0. 1

the newspaper

GeoFF veNDevILLe & sUZIe BALABUch

The Greek community at U of T has recently been hit hard with a new zoning regulation from the City of Toronto. Following several complaints fi led by resi-dents on Prince Arthur Avenue, an area populated with posh homes and some of U of T’s fraternity houses, Councillor Adam Vaughan has decided to act and hit the fraternities and sororities where it really hurts: the fi nances.

Although not offi cially rec-ognized by the university, the fraternities and sororities have been around since U of T was founded. Apart from the fi nan-cial support received from past alumnae, many frats also bring in revenue by renting out their properties to fi lm companies for a tidy profi t. The city has not only introduced a zoning bylaw classifying fraternity and soror-ity houses as “rooming houses,”

ANIMAL HOUSE NO LONGER

Continued on page 2

MART´IN WALDMAN

More than a year since initial complaints were made, and after two public hearings, the Canadian Radio-television and Telecommunications Commis-sion (CRTC) has decided by a majority vote to revoke the broadcast license for CKLN-FM, also known as Ryerson Community Campus Radio.

The CRTC decision outlines the process for revoking CKLN’s license, and the main reasons for doing so.

In the summer of 2009, com-plaints about its governance structure and day-to-day man-agement had come forward , and last February, the CRTC stated that CKLN was not op-

CRTC TAKES CKLN OFF AIR

CKLN already planning appeal

Continued on page 3

erating in compliance with the commission’s broadcasting standards. This included their failure to fi le annual returns and other necessary paperwork, not responding to information requests for several months, and failing to meet program-ming standards for community-based radio. Two public hear-ings on the matter were held in May and December of last year, leading to the commission’s fi -nal decision.

In the CRTC report, commis-sioner Louise Poirier gives her lone dissenting opinion. She says non-compliant licensees are usually given a warning be-fore their license is taken away,

sANDRA DeGRANDIs

Lack of student living space is a perennial problem at many universities, and especially so at U of T. In order to accom-modate more students, U of T has decided to lease some of its land on College St. to a private company, Knightstone Capital Management, that will build the fi rst for-profi t residence on university property.

This will not be the fi rst pri-vately owned residence at U of T. Tartu College, St. Vladimir’s, Campus Common, and Campus Co-op are all privately owned and operated residences. How-ever, while these residences might be removed from the

HIGH-RISE RES WON’T BE CHEAP

U of T turns to private enterprise to provide residence needs

Continued on page 2

university, this new residence is located on university land, allowing for a more confi dent association between the univer-sity and the private company.

One genuine concern about the project is that it might cause an onslaught from other private companies seeking to make a tidy profi t by taking advantage of poor funding for building university-owned residences.

Lucy Fromowitz, Assistant VP of Student Life, insists it is not all about profi t, but about supplying students with the best possible services. “Because a portion of the property is owned by U of T, we have de-

New city zoning bylaw hits frat boys

where it hurts...their pockets

U of T frat houses have recently become the subject of complaints from neighbours living in the Annex, who are upset about the constant fl ow of vomit on their sidewalks, crap on their lawns, garbage in the street, and beer in general (surprise!).

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The Faculty of Music’s resident Gryphon piano trio perform Brahms and Schonberg at Walter Hall on January 31. The Gryphon Trio has been dubbed the “king of archdukes” by the BBC Music Magazine for their fi rst-class Beethoven recordings.

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page 6Gallery review: Nocturne

the arts

Arts EditorSuzie Balabuch

2 February 3, 2011

the newspaperEditor-in-Chief

Helene Goderis

Web EditorAndrew Gyorkos

ContributorsSandra DeGrandis, Andrew Gyorkos, Stephanie Kervin, Geoff Vendeville,

Kate Wakely-Mulroney, Mike Winters

the newspaper1 Spadina Crescent, Suite 245

Toronto, ON M5S 1A1Editorial: 416-593-1552

thenewspaper@gmail.comwww.thenewspaper.ca

the newspaper is U of T’s independent weekly paper, published by Planet Publications Inc.,

a non-profi t corporation.

All U of T community members, including students, staff and faculty, are encouraged to contribute to the newspaper.

Business ManagerTaylor Ramsay

ads@thenewspaper.ca

the news

Illustrations EditorDave Bell

News EditorMartín Waldman

Contributing EditorDiana Wilson

Photo EditorBodi Bold

U of T leases land for resContinued from page 1

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Frat boysContinued from page 1

leading to the problem of licens-ing, but has also prohibited the practice of renting out Greek community properties for mov-ie shoots.

Adam Vaughan, Councillor of Ward 20, Trinity-Spadina, em-phasizes that the city knows not all of the fraternities are guilty of such shenanigans as exces-sive noise, street bonfi res and front-lawn defecation. He says, “It’s a small group of frats that are the problem, and we just want them to grow up.”

According to Councillor Vaughan, the renting out of fra-ternity and sorority houses sup-plies funds for excessive parties, which then lead to complaints from non-university residents.

“They can earn up to $6,000-$7,000 per day for hosting these kinds of productions, and then

decide to have a big party af-

ter. We want to show that they won’t be able to continue that practice if they don’t start to change how they act in their neighbourhood.”

Mark Vukman, the Vice-President of Phi Kappa Sigma, refutes claims of any fi lm shoot income being spent on lavish parties. “That’s absolutely un-true. Whenever we make any additional revenue it goes di-rectly into the house. This house was built in 1899. It requires constant maintenance. Myself and another brother are gonna fi x that mantelpiece over there. All these [frat] houses are old.”

As for the constant complaints from neighbours, Vukman says, “I give them my number and tell them to call whenever we’re too loud. It’s a community-based solution. They call me if I’m too

loud and I shut my boys up. As for the allegations of bonfi res in the street and girls shouting rape, that had nothing to do with us. That doesn’t represent my organization.”

the newspaper also spoke with an anonymous executive/prop-erty manager of another frater-nity who did not want his name or his fraternity’s name printed. Striking down the reputation of fraternities causing problems in their neighbourhoods, he says “Noise complaints, if they’ve in-creased, it’s only about by 1 or 2. They were never a high occur-rence and they’re not now.”

Careful to label any fi lm shoot opportunities as a “bonus” and to emphasize their philanthrop-ic achievements, the fraterni-ties at U of T are clearly on the defense in this issue. Councillor Vaughan just wants peace in his ward: “We just want to ask, if the other fraternities can be good neighbours, and can have big parties without trashing their houses, why can’t you?”

veloped a positive relationship with the group. They are inter-ested in building and providing quality student housing, and we are interested in quality student housing being available for our students who wish to live off campus.”

Although the company is planning to build a residence, they are located off-campus, and will operate according to how the company sees fi t, in-cluding services and costs.

Fromowitz says: “We have viewed some of the residences that this company has built and operated elsewhere and all of them provide a wide variety of

services that meet the needs of their populations…RA’s, stu-dent res committees, study spaces, common spaces, laun-dry facilities, etc. They are very interested in serving the needs of university students and cre-ating a community rather than just “housing” students. They will determine their own rates.”

While the company appears dedicated to providing quality services to students, one thing that may potentially stand in the way is cost. Housing fees have yet to be determined, and it remains to be seen whether many students could afford to call such a place home.

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3February 3, 2011 the news

The University of Toronto Students’ Union is holding its Spring 2011 Elections to fill the following positions:

Position Seat(s)**Division I Victoria College 2 University College 2 Innis College 1 St. Michael’s College 3 New College 3 Trinity College 1 Woodsworth College 3

Toronto School of Theology 1

At-Large Arts & Science 2

Division II

Faculty of Music 1 Faculty of Dentistry 1 Faculty of Nursing 1 Faculty of Medicine 1 Faculty of Pharmacy 1 Faculty of Law 1 Faculty of Applied Science & Engineering 3 Faculty of Physical Education & Health 1 At-Large Professional Faculty 2

Division III * Mississauga campus 7

Executive President 1 Vice President Internal & Services 1 Vice President Equity 1 Vice President External 1 Vice President University Affairs 1

* cross appointed to the Board of Directors of the UTMSU** seat numbers may change upon confirmation of enrolment and in accordance with the Elections Procedure Code

2011 SPRING

Elections NoticeUniversity of Toronto Students’ Union

Local 98 • Canadian Federation of Students

Important 2011 Dates:Election Nominations (All Positions)

Tuesday, February 15 at 09:00 to Friday, February 24 at 16:00

Election Campaign Period Monday, Febuary 28 at 9:00 to Thursday, March 10 at 18:00

Election Voting Period Tuesday, March 8 to Thursday, March 10From 9:00am to 18:00

Election Results Tuesday, March 22, 2011

Nomination Pick-up and Drop-off Locations:

St. George campus:

12 Hart House Circlehours: Monday - Friday, 09:00 to 16:00

To run for a position, pick up a nomination package duringthe nomination period at the U.T.S.U. or UTMSU office. Please keep in mind the dates and deadlines.

For more information, visit our Students’ Union website at www.utsu.ca or contact cro@utsu.ca Please note that, at the time of this publication, “University of Toronto Students’ Union” and/or “U.T.S.U.” refers to the Students’ Administrative Council of the University of Toronto, Inc. (“SAC”).

Mississauga campus:

UTMSU OfficeUTM Student Centre, Room 100Hours: Monday - Friday, 09:00 to 12:30, 13:30 to 17:00

The U of T Students’ Union represents all full-time undergraduates at St.

George and Mississauga campuses. U.T.S.U. provides important services such

as Health & Dental Plans, book bursaries, clubs funding and discounted TTC

Metropasses. Your Students’ Union also represents students to the central U of

T administration and government, advocates for students’ rights, and connects

students across all campuses to work on common goals, campaigns and social

programming.

CKLN LICENSE REVOKEDContinued from page 1

and revoking it immediately is not standard practice.

As reported in Tuesday’s Eye-opener, CKLN’s directors, with the support of Ryerson students and community members, are planning to appeal the CRTC’s decision. Their immediate op-tions are to find legal counsel to stay the decision, or to send a document to the CRTC which would outline their plans to fix the current problems at the sta-tion.

For their part, the CRTC is not currently giving interviews on the topic of CKLN. Peggy Nebout, a spokesperson for the CRTC, said their press release and the written decision on the matter adequately explain

why the broadcast license was revoked. Nebout did, however, explain that CKLN will have a month to appeal the decision, and for the time being the fre-quency will become “free”, or part of the pool of frequencies that can be bought and sold. This kind of purchase would be subject to proposals and other processes, but as Nebout ex-plains, “if CKLN did choose to appeal, those processes would be put on hold.”

The appeal process will cer-tainly be watched closely by the many who worry that Toronto’s radio dial may soon have one fewer venue for non-commer-cial, community programming.

CKLN listeners find themselves stranded with no radio after the CRTC’s decision to revoke CKLN’s license.

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MART´IN WALDMAN

Professor Angela Davis spoke at Convocation Hall on Wednes-day night, the keynote speaker of UTSU’s eXpression Against Oppression week.

Before Davis’s presentation, writer-activist Ward Churchill spoke on the power of commu-nication and galvanization, and emphasized the importance of using appropriate language to refer to social injustices. He noted that words such as “geno-cide” or “apartheid” are often met with resistance, but must be said to avoid a “process to expunge our language of any-thing that makes things clearly understood.”

Returning to eXpression Against Oppression by popular demand, Professor Angela Da-vis began her presentation with a criticism of increasing private influence at U of T, despite its official status as a public univer-sity. According to Davis, private influence on university campus leads us quickly towards “the kind of academic freedom that suits corporate interests and oligarchies.”

The most salient points of Da-vis’s address revolved around

Angela Davis returns to Con Hall for eXpression Against Oppression Week

the prison industrial complex in the United States, and its gradual development in Can-ada. Davis discussed the way that massive investment into prisons throughout the United States has coincided with a se-vere decline in public educa-tion and social services. A $2.1 billion investment by Canada’s Conservative government in prisons across the country dem-onstrates similarly skewed pri-

orities.Davis closed with a brief men-

tion of the uprisings in Egypt, which she viewed as closely con-nected to issues of Palestinian liberation and anti-American-ism. Citing Martin Luther King Jr.’s reference to himself as a “disturber of the peace”, Davis asked of the audience “how can we all become disturbers of the peace, and dedicate ourselves to transformative action?”

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“ the campus comment ”the newspaper asked: tell us a story from a party you’ve been to on campus.

Helene, newsie “One particularly lively co-op party comes to mind. An unlucky attendee had to write out a $200 cheque, the memo of which read: “for fucking shit up.”

Lewis Deville, 2nd year, Computer Science“Our friend took 28 shots on his birthday, threw up into sev-eral plastic bags that ended up freezing on his front lawn.”

Arun, 3rd year, Astrophysics “First year during frosh week we had a party and had to watch a girl jump on our roommate on the couch. Clothes starting coming off and everyone was watching.”

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Hart House hosts a night of literature, visual art and 3D creations

Infi nity in the 3rd dimensionGeoFF veNDevILLe

The intricate, winding patterns woven into a Persian rug or carved into the wall of a mosque may appear unique to Islamic art. Yet, as author Laura Marks claims in her latest book, En-foldment and Infi nity, Islamic aesthetics are common to west-ern art, from the paintings of Henri Matisse to contemporary digital art.

Last Friday at Hart House, Marks’ book launch, followed by acclaimed media artist Willy Le Maitre’s 3D video presenta-tion, attracted art amateurs and experts alike at “Seeing and Be-lieving: Books, Art, and 3D Cin-ema”, an event co-sponsored by This Is Not A Reading Series and Subtle Technologies.

Marks showed slides docu-menting her research, an eight-year process that took her from the MET in New York City to mosques in the Middle East. Contrasting western art, such as the psychedelic art concert posters of the 1960s, to Is-lamic tapestry or architecture, she drew attention to their “al-gorithmic construction” and similar “enfolding-unfolding” aesthetic. Basing her argument on the work of French philoso-phers Foucault, Deleuze, and Guatarri, she argued that im-ages “unfold” (or, are conveyed) from an infi nite “universe of images” through the medium of information.

Marks also commented on the western and Islamic traditions’ “common heritage.” Western art and the fi eld of new media in particular, she said, owe much more to the Islamic world than is commonly known. However, her focus was artistic rather than historical: “I wanted to bring things together in order to create something productive and new. If the result of crash-ing Islamic art and philoso-phy into new media art proves

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inspiring, and if interesting results arise from the relation-ship, then it begins to create a link that has the strength of a historical link.”

Willy Le Maitre’s Edia illus-trated some of Marks’ ideas. Through the lenses of their 3D specs, the audience saw spheres of different sizes and

colours spinning and “unfold-ing” towards them, often su-perimposed over an abstract, outer space-like background (excerpts of the video are view-

able online via Le Maitre’s web-site). Le Maitre said he found inspiration for Edia in the pages of popular science journals, at-testing to the infl uence of sci-ence on contemporary art.

Although Edia’s meaning was not immediately obvious to an uninitiated observer, Le Mai-tre said it is meant to show how “one’s sense of self is only ful-fi lled by interaction with other people, by dialogue.”

Co-sponsor of the event Sub-tle Technologies, a charity/arts organization, puts on work-shops and organizes a festival every summer with the intent of introducing artists to new sci-entifi c concepts. For example, last year Subtle organized a vis-it to a tissue lab. “For artists,” said Jenn Dodd, managing di-rector of Subtle and physicist, “it’s an opportunity to engage in the forefront of our scientifi c knowledge and to incorporate it in making a piece. It’s a creative spark.”

Technology such as 3D video has enabled artists to engage audiences in new ways. Marc Glassman, director of This Is Not a Reading Series, compared new media art to the “feelies” in Alduous Huxley’s novel Brave New World: you don’t simply watch it, it “envelops you and you experience it.” A former bookstore owner, Glassman said “although text is something we’ll love and need as a form of art, people are becoming more and more sensitized to the vi-sual.”

On February 15 at the Glad-stone, This Is Not a Reading Series will be holding a book launch for Matthew J. Traf-ford’s collection of short stories, “The Divinity Gene,” featuring an interview with author Sarah Selecky and the comic stylings of the Ghost Jail Theatre.

4 February 3, 2011the inside

The UC Follies stage an imaginative production of a well-known classic

Crooks, constables, beggars and whores

sUZIe BALABUch

Look out, U of T: old Mackie’s back in town. The title charac-ter of the classic tune Mack the Knife will be making his pres-ence known at the UC Follies production of The Threepenny Opera at the Hart House The-atre from February 3-12.

The Threepenny Opera, writ-ten by Bertolt Brecht and Kurt Weill, was fi rst staged in Ger-many in the late 1920s, and is such a landmark piece of musical theatre history that it has since been translated into 18 languages and is still per-formed around the world today. The story of The Threepenny Opera revolves around the lead character of Macheath (played by Michael-David Blostein), an atypical hero who falls for Polly Peachum (Nicole Stowikowski), the daughter of the leader of the beggars of London. Under the threat of death by Peachum, Macheath (or Mackie) must es-cape the city with the help of his friends in order to avoid execu-tion.

The plot is fairly entertain-ing and straightforward, but it

is really the show’s origins that make The Threepenny Opera so timeless. Written in inter-war Germany, the show was the fi rst to introduce jazz as its underly-ing genre of music, providing musical theatre with a dramatic turning point.

the newspaper had the chance to speak with the show’s direc-tor, Viridi Odern. Describing

the show as “less a musical then it is a play with music,” Odern continues, “The Threepenny Opera, in its style, set the prec-edent for what musical theatre has become. Prior to this, it was more operatic in style. After this, it became raunchier, grun-gier, rawer, and you started get-ting shows like Sweeney Todd, Cabaret, and Chicago, which

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just revel in the darkness of the music.”

The UC Follies plan to con-tinue the show’s history of inge-nuity and intrigue. Odern says: “This is a very unique, stylized and unleashed production of The Threepenny Opera. One of the advantages is that there is no fi lm version, no defi nitive version that you have to always

work under. There’s so much room for creativity, and what we have put together is startlingly original and very pregnant with meaning.”

This UC Follies production is also the fi rst to feature all U of T students. Sarah Thorpe, who plays Jenny, a former lover of Macheath’s, praises Kurt Weill’s “delectable score,” but above all voices her sadness for what will come when the production wraps.

This feeling echoes that which Odern considers to be the best part of this rewarding, yet ex-hausting creative process. “My favourite part was being able to bring in so many talented artists and just expose them to each other and allow them to work off of each other, and to foster all of their creative impulses.”

With a dedicated director, a tight-knit cast and a 10-piece jazz band, the UC Follies pro-duction of The Threepenny Op-era cannot be missed.

For more information on show-times and tickets, visit www.ucfollies.com

5February 3, 2011 the inside

“The Threepenny Opera, in its style, set the precedent

for what musical theatre has become.”

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We can only assume this is Carlos’ better halfDAN chRIsTeNseN

The infamous Venezuelan ter-rorist and murderer known as Carlos the Jackal was responsi-ble for many heinous deeds, in-cluding multiple public bomb-ings, an OPEC delegation raid that resulted in the deaths of three parties, and the murder of three French police officers and an informant in cold blood.

However, the biggest crime of all is that people across Canada won’t see Carlos, the Golden Globe award-winning minise-ries chronicling his “profession-al” life up until his 1994 arrest – at least not in its entirety.

Alright, I’ll admit that might be an exaggeration, but the tragedy of its lack of exposure cannot be exaggerated. The film is only playing in one theatre in the whole city (AMC Yonge & Dundas), with three showings per day on the week of the To-ronto theatrical release. Not to mention, but three days after its release, I was accompanied to the screening by only four other movie-goers.

So what happened to this film? Firstly, it is not really

properly a film. As mentioned, it initially broadcast as a three-part miniseries on the French premium channel Canal+, with each part running around 100 minutes. Hence the applicabil-ity of the Golden Globe consid-eration, but not for the Oscars, who require the initial release to be theatrical.

It then was stitched into its first theatrical cut, with a whop-ping five and a half hour run-ning time, which premiered at Cannes. It was finally edited down to an under-three-hour version which has received wide distribution, and which is show-ing at the AMC.

This raises a curious ques-tion: is it possible for a film to be nearly three hours long, yet not nearly long enough? Yes indeed, and Carlos has proven this decisively. The film feels as if it is a Cole’s Notes version as you watch it, with scenes ending abruptly, character motivations glossed over, and references to absent (or thoroughly under-developed) plot points appear-ing in scenes.

At one point, Carlos and his wife, the latter exhausted from

a life on the run, argue over his entitlement to their daughter and the amount of care and at-tention he shows her, when the daughter, around seven years old, was only introduced three or four minutes beforehand.

Furthermore, the first two thirds of the film have major po-litical underpinnings, as through his career Carlos acts as a militant for the Palestinian cause. How-ever, the depth at which these diplomatic considerations are examined is impossible to con-dense without a serious loss of clarity and comprehension on the part of the audience.

It is easy to understand how the full version would be a mas-

terpiece of a three-part series. Even this cut has three definable acts – his early terrorist career, culminating in the assassination of the French police officers; the attack on the OPEC conference and resulting hostage situation; and then his evasion of authori-ties in his later life.

This is of course not to speak of the arresting production quality (no pun intended) and stalwart performances. The art direction, costume work, and cinematography all exhibit a high filmic standard, with the distinctive music selections adding a delicious accent. The captivity of the OPEC meeting was especially well-realized,

with the fast-paced actions se-quences not suffering a break in the high level of artistry.

Beyond this, it is simply a fascinating study of this noto-rious criminal and the ego that drove and eventually overtook his career. Through its depic-tion of the historical events and Edgar Ramirez’s subtle lead performance, the film argues that Carlos’ actions betray his greater care for his own self-ag-grandization than for the causes he purports represent.

The only misfortune of sole television dispensation would be that the fine, detailed work of the filmmakers could not be enjoyed, as it should, on the big screen. Despite this, if there were a means to watch the com-plete five hours of the miniseries in Canada, it would no doubt re-ceive my most enthusiastic rec-ommendation.

As no means seems to be appear-ing soon though, and especially if you missed 2008’s Che and have been jonesing for an extremely long biopic of a South American militant revolutionary ever since, it would be a big mistake to pass this one over in theatres.

6 February 3, 2011the arts

Light and darkness in Dorland’s ‘Nocturne’evANNA FoLkeNFoLk

In the chilly whiteness of Angell Gallery on Ossington, and in contrast to its stark featureless walls, the artist Kim Dorland exhibits his latest collection of paintings fittingly named ‘Noc-turne.’ Hanging beneath bright fluorescent lights, Dorland’s paintings appear dark and menacing, drawing light inward and echoing it in ominous glow. Ghouls and ghosts flutter across his canvases, peering from be-hind heavy layers of texturized paint, amid dark forests found only in the most frightening of childhood dreams.

But Dorland’s creations are as beautiful as they are revolt-ing, tender and haunting, like the characters of a Burtonian fairytale, too infused with love and sense to be truly terrifying. Escaping their habitual realm of bedtime stories and campfire tales, Dorland’s creatures stand out in the decidedly adult gal-lery and its pristine white walls. They have at once both youthful rebellion and innate wisdom, amusement and gravity alike swaying upon their canvases. Their presence is a reminder that we have not changed so very much since childhood.

When asked what he believes to be the role of art in our lives, Dorland argues its function is to transport us from the utter

dreariness of our daily lives, to help us escape the seem-ingly endless grind of routines and obligations. His answer intimates a transformation, or rather subsumption, of our childhood fears which nonethe-less exist as a part of our con-sciousness, a part of the way in which we wake and live and give in to sleep again.

The fear of ghouls and golems has since been replaced by ma-ture fears that are both less de-finable and infinitely more real; fear of the faceless unknown, the worries that plague us and

serve as the foundation of exis-tential crises that have spiraled modern society into unprec-edented rates of anxiety and de-pression.

Through his paintings, Dor-land personifies these fears into their child-like counter-parts, lighting them up with the dreaminess of childhood. Through his morbid imaginary creatures, he invokes both the innocence of initial waking mo-ments where reality has not dug its claws, as well as the sheer and unadulterated terror with which children react to the un-

known. His use of dark and liquid mirror paint, which pro-duces a fluorescent-like glow to his canvases, bolsters this effect of supernatural divinity.

In this manner, Dorland wills his paintings to speak to us, to reflect light back to us, our own images distorted through his dark fearful colors and warped uncanny creations. It is fitting that the inspiration for the first painting of the series, and of ‘Nocturne’ itself, was a dream his wife had of being trapped inside one of Dorland’s canvas-es, in a dark gloomy forest that

slowly began to consume and erase her.

This effect is continually found in his paintings, whose dark coiled tree branches fill the canvas and reach out to the viewer with the magic sway of fairytales, begging us in, our fears at least for a fleeting moment replaced as we lose ourselves in mazes of coiling branches and twisted figures.

Dorland’s art is transcendent, as he believes art to be; it both displays and dispels, putrefy-ing and beautifying his sub-jects, and making his art into revelation, catharsis, and solu-tion. His dark room, employ-ing abundant amounts of liquid mirror paint, is saved for last as a cherry on top of the mystical sundae, its effects so indescrib-able, they are best seen with one’s own eyes.

As those present at the exhib-it’s opening mingled and collid-ed before paintings that seemed as private as the fuzzy outlines of memories we cling to when we wake, the owner of Angell Gallery, Jamie Angell himself, shared a friend’s reaction to the exhibit: “The paintings taught me things about myself I didn’t even know.”

Kim Dorland’s ‘Nocturne’ is running from Jan 22 – Feb 19, 6-9pm at the Angell Gallery, 12 Ossington Avenue.

Midnight, by artist Kim Dorland, hangs at the Angell Gallery on Ossington.

7February 3, 2011 the arts

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8 February 3, 2011

Across1. ___ Mahal4. Persperation9. The lonliest number12. Sandwich cookie14. Nab15. Declare16. Greyish pale yellow shade17. Speak grandiloquently18. Deceptive plan19. Garment which hangs from the waist21. Spacious23. Swift, narrow current27. Hawaiian island30. Three on a sundial31. Jewish minister35. Era36. Teachers39. Automotive dashboard counter40. Milk maker41. Mate42. Haul off, as a broken car43. Ontario museum44. Before, poetically45. Common cooking herb47.Neither... ___ ...48. Tempts50. Fraction of a minute51. “Play ___ for Me” (1971 East-wood fi lm)53. Playboy56. Gesundheit! ___ you!58. Foolish61. ___ Quebecois62. Ballsy poker play66. High68. Passion69. Ancient Italian70. Watson or Stone71. Golf peg72. Bright73. Clairvoyance

Down1. Foot digit2. Geometry curves3. Rude person4. Author F. ___ Fitzgerald5. Battle6. Greek character7. Play division8. Not here9. Egg10. Curious11. Female sheep13. ___ board (Superstitious game)15. Scent20. Force something unwelcome again22. Female paddlers24. Without fault25. “___ for tat”26. Pearl Jam album27. Secretly added more chemicals28. Marketplace29. More recent32. ___-Dicke theory of gravita-tion33. Bring about34. Piano key material37. Hearing organ38. Howard or Jeremy46. Versatile exclamation49. Pop out a disc52. Angry54. Russian monarchs55. Aluminium like56. Sad57. Meet defeat59. Title60. Decorative trees61. Classic sandwich63. Reed or Gehrig64. “... J K ___ O P...”65. Bond author ___ Flemming67. Race division

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